David Sylvian spans three decades of image-conscious pop culture. From South London schoolboy in the Seventies to respected composer of the Nineties and beyond, he remains a uniquely fascinating hero. The new edition of Martin Power's acclaimed biography explores every detail of a unique life. The formation of Japan, their signing to Ariola-Hansa in 1977 and a shaky career start. Success with a new glamorous image and two classic albums, Gentlemen Take Polaroids and Tin Drum and the band's break-up and the start of Sylvian's solo career. Including many interviews and reviews of all Japan and Sylvian albums, this unique biography delves into the compelling world of the Lewisham lad who became the Last Romantic.

David Hopkins analyses the extensive network of shared concerns and images in the work of Marcel Duchamp and Max Ernst, the greatest names associated with Dada and Surrealist art. This book covers a broad period from c.1912 to the mid-1940s, during which the emergence of Dada and Surrealism in Europe and the United States challenged earlier movements such as Cubism and Expressionism, creating scope for the expression of the unconscious fears and desires of artists acutely sensitive tothe troubled nature of their times. Examining Duchamp's and Ernst's subversion and manipulation of religious and hermetic beliefs such as Catholicism, Rosicrucianism and Masonry, David Hopkins demonstrates the ways in which these esoteric concerns intersect with themes of peculiarly contemporary relevance, including the social construction of gender and notions of ordering and taxonomy. This detailed comparison of components of Duchamp's and Ernst's work reveals fascinating structural patterns, enabling the reader to discover an entirely new way of understanding the mechanisms underlying Dada and Surrealist iconography.

The Optical Unconscious is a protest against the official story of modernism and against the critical tradition that attempted to define modern art according to certain sacred truths. Rosalind Krauss tells the story of the optical unconscious, an unruly, disruptive force that haunted modernism from the 1920s to the 1950s, and which continues to disrupt it today.

Max Ernst (1891-1976) is one of the most versatile artists of the modern era. Starting out as a Dadaist in Cologne, he soon became one of the pioneers of Surrealism in Paris. The publication shows the wealth of the artists oeuvre in an exemplary selection of around 170 paintings, drawings, collages, and sculptures.

The Sources of Surrealism is a comprehensive sourcebook documenting the origins and development of Surrealism internationally through a collection of 234 original documents. The texts have been selected from across the whole range of Surrealist writing and are published in English throughout, with new translations provided for previously untranslated material. Particular emphasis is given to the earlier documents and influences upon the Surrealist movement, as well as to the period of its internationalism during the 1930s, and the texts cover Surrealism in Britain and Belgium as well as France. This fascinating collection serves as an essential reference book for scholars, as well as stimulating reading for all those with a general interest in the subject.

Images: A Reader provides a key resource for students, academics, practitioners and other readers engaged in the critical, theoretical, and practical study of images. The Reader is concerned with the notion of the ‘image’ in all its theoretical, critical and practical contexts, uses and history. It provides a map of the differences and similarities between the various disciplinary approaches to images, breaking the ground for a new interdisciplinary study of images, in the arts and humanities and beyond. The selection of over 80 key readings, across the domains of philosophy, art, literature, science, critical theory and cultural studies tells the story of images through intellectual history from the Bible to the present. By including both well-established writings and more recent, innovative research, the Reader outlines crucial developments in contemporary discourses about images.